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Hoshina Toyomi GLv‡bB †mLv‡b-†mLv‡bB GLv‡b HERE IS THERE – THERE IS HERE

17 - 25 August 2013 Bengal Gallery of Fine Arts

Hoshina Toyomi GLv‡bB †mLv‡b-†mLv‡bB GLv‡b HERE IS THERE – THERE IS HERE

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Bengal Gallery of Fine Arts House 42 . Road 16 (New) . Sheikh Kamal Sarani Dhanmondi . Dhaka 1209 . Bangladesh Phone: +[880 2] 8123115, 9113115 Fax:+[880 2] 9146111 Email: Web:

Design Emon / Bengal Foundation

Printing Graphosman Reproduction & Printing, Dhaka

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Memory of a Botanical Garden Paper, Indian ink, silver, paint . 54 x 76 cm . 2011

HERE IS THERE THERE IS HERE Toyomi Hoshina (1953) first attarcted the attention of the art world with his installation work in the 1980s. It was a work where thin bent wood pieces covered with japanese paper were used as a frame that divided the express through this work was the relationship between space and body, the relationship of mutual osmosis, which he called “a neutral place.” after the late 1980s, he started creating wavelike walls using long thin plates, which more clearly demonstrated his intention to act on space. The work, which was asymmetric on both sides and whose longitudinal section was in the form of an inverted triangle, contained irregular and unstable factors. Through this work, Toyomi Hoshina tried to express the interactions between the inside and outside of the work. The installation work Memory of Water (1997) was a development of the aforementioned work, whose wavy surface was made of the grit of rocks he collected in the mountains in his hometown of Nagano. The sophisticated color of indian ink (sumi) showed his understanding and attachment to Eastern culture. In 1998, his work with the same title but different structure was displayed in China. Toyomi Hoshina answered the question why he continues using wood and Japanese paper as follows: `My living environment allowed me to choose freer materials from the beginning. I have been interested in the images that the real world around me left in my mind, and it is these images that inspire me to creation,” What Toyomi HOshina means

by ~Images' is the natural environemnt unique to Japan, a sense of formative arts unique to Japanese people, and creative inspirations generated by the environment and the sense. This is why the works of Toymi Hoshina feature ethnic characteristices, and in poarticular, he has his own unique perspective on the spatial concept characterstic of traditional Japanese culture. Space is not just an expanse of Vain emptiness, rather it is a sense of Opening' between things or between people and things. From the `opening' emerges a `place' that contains limitless relationships. In the place, the audience and the exhibition space become part of the work, creating a new spatial relationship. Toymi hoshina has long been exploring the relationships between the inside and the outside of a `place.' In 1973, he created a remarkable performance art piece toe express his ideas figuratively to the Japanese contemporary art world of that time: He is walking on a frazen lake along the shore while stepping firmlyon the accumulated show. If he makes a step outside, there is the safeground while if he makes a step inside, there is a risk of falling into the lake. he took pictures of footsteps that lay between life and death. The pictures were later highly acclaimed by a french critic and opened his way to Europe. After graduating from the Tokyo University of the Arts, he stayed in France and Germany for a several years, where he engaged in crative and exchange activites.

TOYOMI HOSHINA CONCEPT I was born in a house in a riverside valley of a mountainous region of Japan. The sound of the water flowing is the river is still deeply ingrained inside my ears. Due to the mountains that drew near on both sides, the morning sun didn't ascend until around 9 am. only a glimpse of the clear blue sky peeks over those hills. It was as if I could see another world through a crack in the ground, and is there, I felt a yearning. When it became nighttime the landscape completely shifted, vanishing into the dark, just as if the radiant stars were piercing my eyes, Liberating the world unto me. The river usually makes me forget humans' muddled relationships. I always wanted to become unified with nature like this. I always felt abhorred to be accompanied with a physical body. I became very irritated by the compulsion to eat; I prayed I could go a lifetime without eating. Sometimes I could not put up with the with the smell of garbage at night, so I went to the mountains to eat humus soil under fallen leaves. It had such a beautiful scent and was delicious. One time, my father invited fire is a mountain forest. Even though I understood what was going on I watched from afar and drew no closer. That fire was extremely beautiful. Rather than considering what kind of incident this was, I was charmed by the beauty of the fire before I knew it, and felt uplifted by it. I wanted it all to burn. On a rainy day, I saw myself reflected in a puddle. I felt beauty in things such as stones. I sometimes playfully wandered about in the forest on animal trails with on human scent. I was deeply cautious with human beings. I often felt there must be things hidden is the forest, Stones, trees, and water so I spoke to them. But there was never any response, My work originates through my body (as a medium) whiled living my daily life, giving form to a place in the intervention of my physical body in between space and existing matter, offering viewer’s an exchange of materials with this. by keeping the symbolic nature from reaching a maximum, my work fastens the viewer's gaze to suspend their physicality in midair. There is no criterion to express the content; the work is an installation with no ` answer.' Rather, the `answer' is sent back internally to the viewers. A consciousness of the space is allowed to coexist based on the realization that `I am here' and `I am there, something that brings about a neutral space. This is the feeling of existing in the boundaries of the world. My subject resides between private and public; the materials I use suggest my soul; physical body exists not as a substance, but as a process of living. I am influenced by tea ceremony, Noh, and haiku all of which fuse Eastern art with life and have shown me the spiritual way in everyday life. These were the practical austerities in daily life to reach the truth, by taking in the philosophies of Taoism, Buddhism, and Confucianism. A sword is not just iron it is spirit.

Silence Paper, Indian ink, silver, paints . 220 x 90 cm . 2011

Two Storyline for an Installation Paper, Indian ink, silver, paints 90 x 200 cm . 2011

Memory of a Botanical Garden 1 Ink, silver. paints. 90 x 120 cm . 2012 Chines

Memory of a Botanical Garden 2 Paper, Indian ink, silver, paint .42 x 64 cm . 2011

A Window into Space Paper, Indian ink, silver, glue . 45 x 60 cm . 2011

Unbelievable vice Loneliness Silence Red glass falling Blowing colours Red strings of destiny A thousand hands The tattooed cat Raining

Every image size 35 x 28 cm

Painting for an Installation Paper, Indian ink, silver, paints 76 x 65 cm . 2011

Soaring Flowers Paper, Indian ink, silver, paints 64 x 42 cm . 2011

Petals in the Air Paper, Indian ink, silver, paints 76 x 54 cm

Plan Drawing for Tsumari Triennale Paper, gouache . 60 x 45 cm . 2011

Trees in Suspension Paper, Indian ink, silver, glue . 60 x 45 cm . 2011

Top and Bottom : \ Painting for an Installation 1 Memory of a Botanical Garden 3 Paper, Indian ink, silver, paint . 46 x 36 cm . 2007

Painting for an Installation 2 The flame was very beautiful . 130 x100 . 2012

Blowing Colours Paper, Indian ink, silver, paint . 64 x 42 cm . 2007

Petals in The Air NO 1 Paper, Indian ink, silver, paints cmĂ— cm

Crimson Flowers Under a Golden Sky Paper, Indian ink, silver, paints 54 x 76 cm . 2011

Petals in The Air NO 2 Paper, Indian ink, silver, paints 76 x 45 cm

Petals in The Air NO 3 Paper, Indian ink, silver, paints 76 x 54 cm . 2012

A Neutral Occurrence 1 & 2 20 x 30 cm

Memory of a Botanical Garden 4 Chines , Indian ink, silver, paints . 90 x 70 cm . 2012

Loneliness Paper, ink, silver, paints . 76 x 54 cm

Memory of Mori Paper, Indian ink, silver, paints . 76 x 54 cm . 2012

The Face of Memory- 1 & 2 Paper, , Indian ink, silver, glue . 40 x 26 cm . 2012

The Face of Memory 3 Paper, Indian ink , silver, glue . 40 x 26 cm . 2012

Hoshina Toyomi b. 1953, Nagano Prefecture, Island of Honshu, Japan

Education 1984 : Completed Doctoral Program in Painting, Tokyo University of the Arts, Tokyo, Japan Solo Exhibitions 1980 : Event in a Snowfield, Komoro, Nagano, Japan : Asian Art Today, Hong Kong Art Center, Hong Kong 1982 : First Concurrent Art Exhibition, Ohara Ikebana School, Tokyo 2006 : Solo show, Gallery Omotesando, Gallery Mori, Tokyo 2009 : Solo Exhibition, Gallery Omotesando, Tokyo 2011 : Solo Exhibition, Omotesando Gallery, Tokyo 2013 : Solo Exhibition, Bengal Gallery of Fine Arts, Dhaka, Bangladesh Group Exhibitions 1981 : Takayama Noboru, Kawamata Tadashi, Hoshina Toyomi : 3 Man Show, G Art Gallery, Tokyo 1982 : “Paris Biennale”, Paris Citizen Museum of Art,Paris : Contemporary Paper Forms Exhibit—Japan and Korea (Seoul National Modern Museum, Seoul, Korea + Kyoto City Museum, Kyoto,Japan + Museum of Modern Art, Saitama, Japan) 1983 : “Japan Art Now”, Switzerland National History Museum, Rath Museum Geneva, Switzerland 1984 : Horizon of 3D Objects Exhibition, Gallery Nakamori, Hokkaido, Japan 1985 : “Advance of Contemporary Japanese Sculpture Exhibition”, Kanagawa Prefecture Citizens Hall Gallery, Kanagawa, Japan : “The 3rd International Sculpture Biennale”, Sukironio Museum, Athens, Greece 1986 : “Japan Art Now”, Taipei Museum of Contemporary Art, Taipei, Taiwan : Contemporary Sculpture Exhibition, Hataka Town Meeting Hall, Nagano 1987 : 3rd Maubeuge International Sculpture Exhibition, Maubeuge, France. : “The Individual Installation” Spiral Hall, Tokyo, Obuse Kei, Obuse Town, Nagano, Japan 1988 : Germany/Japan - Contemporary Sculpture Exhibition of Shinshu, Nagano Prefectural Shinano

Art Museum, Nagano : Art in Bookshop—Art—Arkhe and Bio (Art Vivant, Seibu Ikebukuro, Tokyo 1989 : “The Space: Material, Tension, Vacancy in Japanese Contemporary Art”, The Museum of Modern Art, Saitama, Japan : “Sakaikawa Excursion” Plan Drawing Exhibition, Temporary Space, Hokkaido, Japan : Outdoor Environmental Sculpture '89: The 1st International Art Exhibition in Yokohama,Yokohama Art Gallery, Kanagawa Prefecture, Japan 1990 : “Installaties” Het Apollohuis, Eindhoven, Holland : Research C.O. Project, Leiden, Holland 1992 : Yui no Kourando Project “Memory of Space”, Nagano 1993 : Hakushu, Open Air Project, Yamanashi, Japan : M't Agun Project, Bali, Indonesia. 1994 : “Chiba Art Now” Sakura Citizen Museum, Chiba Prefecture, Japan. 1996 : Expressions of Intervention- Paper, Yamanashi Prefectural Museum, Fuchu, Japan 1997 : “Japan Art Now” , National Contemporary Museum of Seoul 1998 : “Pan Pacific Contemporary Art”, Furou Citizen Museum, China 1999 : “Dusseldorf Fine Arts CONTACT Exhibition”, Dusseldorf Art Museum, Germany 2000 : Echigo-Tsumari Triennial, Niigata Prefecture, Honshu, Japan 2002 : “The Kouran Path of Yu” Environmental Art, Public Collection, Nagano : 10th Rantan of the East Epoch in L.A., Doizaki Gallery, Los Angeles, California, USA : Japan-American Culture Social Center, University of California Gallery, Los Angeles, California, USA. 2003 : “Collaboration Exhibition”, Walsh Gallery, Chicago, USA. 2004 : Two-person Exhibition (Hoshina Toyomi and Kitagawara Atsushi), ARS Gallery, Tokyo 2005 : “Voice of Site” Former Sakamoto Elementary School, Tokyo, Japan. : “Voice of Site” School of Visual Arts Gallery, New York City, New York : 2nd Chengdu Biennale“,Century and Utopia”, Chengdu Contemporary Museum, China 2006 : “Koto no Kikoe” - Sustainable Art Exhibition- Tokyo University of the Arts, Tokyo : “SUICH” Keio University, Tokyo 2007 : “Koto no Ba” -Sustainable Art Exhibition-, Iwasaki house, Tokyo : “Tradition and Contemporary“ Succession, Deduce, Soak: Water, Ink, World of Monochrome, Contemporary Art Exhibition, Tokyo : “Exhibit from Sunset” Art Park of Tomi City, Nagano : “Documenta Exhibition” Raiousha, Keio University, Tokyo 2008 : “International Media Art Biennale”, Beijing, China. 2009 : “Contemporary Art Drawing” -Kei-, Tokyo University of Arts, University Art Museum, Tokyo : “View of Ikai, Tokyo University of Arts, University Art Museum, Tokyo 2010 : International Exchange Exhibition, Art Museum of National Taiwan University of Arts, Taiwan : The Busan Biennale“ NOW ASIAN ARTISTS”, Busan, Korea : “Social and Natural Environments” Art and Architecture Galleries, University of Hawaii, Honolulu, USA : “Contemporary Art of China and Japan”, Japan- China Friendship Center, Tokyo : “Syouou, Jun nou”, Rusorun Gallery, Seoul, Korea 2011 : “The Ueno Royal Museum Prize Exhibition”, Ueno Royal Museum, Tokyo : The Museum of Busan, Busan, Korea : “Akihiko Takami Project” Seven Stories for Installation : “Contemporary and Tradition” Planning and Production, Tokyo University of the Arts, Tokyo, Chinretsukan Gallery, Tokyo : “2nd Sumi Artists Exhibition” Kobe City Museum, Kobe, Japan 2012 : “Paper Non-Paper” Exhibit, Central Academy of Fine Arts, Beijing Awards 1980 : Grand Prize, Asian Art Today, Hong Kong Art Center, Hong Kong 1982 : Purchase Award, Nation-wide University Printmaking Exhibition, Tokyo, Japan. 1987 : Purchase Award, 3rd Maubeuge International Sculpture Exhibition, Maubeuge, France Present position Professor of Painting, Tokyo University of the Arts, Tokyo, Japan

Here is there – there is here  

Here is there – there is here

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